Type on Disc (BOOKLET)
Create a booklet for a CD containing both the True Type and Open Type (.TTF and OTF.) versions of a typeface.
This booklet should display a minimum of three members of the type family (roman, italic, and bold) and give background information on both the typeface designer and the typeface itself, situating the importance of the typeface and typographer historically.
There should be a minimum of 200 words of historical information.
You may use black, white, and two colors.
The alphabet must be represented in upper and lowercase its entirety in roman, italic, and bold.
There is not a size (and consequently not a page number) specification for the booklet, other than that it must hold a CD. That gives us a minimum size specification of 4.75"
One page must contain a letter whose height (either cap-height or x-height, depending on the case) is 4.75".
There should be an image of the original typeface.
BLACKLETTER:
Fraktur
Cloister Black
Goudy Text
OLDSTYLE:
Bembo
Caslon
Dante
Garamond
Janson
Jenson
Palatino
TRANSITIONAL:
Baskerville
Bulmer
Georgia
Joanna
Perpetua
Times Roman
MODERN:
Bell
Bodoni
Caledonia
Didot
Modern No. 20
Torino
Walbaum
EGYPTIAN, SLAB SERIF, or SQUARE SERIF:
Century
Clarendon
Lubalin Graph
Memphis
Rockwell
Serifa
SANS SERIF:
Akzidenz Grotesk
Grotesque
Gill Sans
Franklin Gothic
Frutiger
Futura
Helvetica
Meta
News Gothic
Optima
Syntax
Trade Gothic
Univers
This booklet should display a minimum of three members of the type family (roman, italic, and bold) and give background information on both the typeface designer and the typeface itself, situating the importance of the typeface and typographer historically.
There should be a minimum of 200 words of historical information.
You may use black, white, and two colors.
The alphabet must be represented in upper and lowercase its entirety in roman, italic, and bold.
There is not a size (and consequently not a page number) specification for the booklet, other than that it must hold a CD. That gives us a minimum size specification of 4.75"
One page must contain a letter whose height (either cap-height or x-height, depending on the case) is 4.75".
There should be an image of the original typeface.
BLACKLETTER:
Fraktur
Cloister Black
Goudy Text
OLDSTYLE:
Bembo
Caslon
Dante
Garamond
Janson
Jenson
Palatino
TRANSITIONAL:
Baskerville
Bulmer
Georgia
Joanna
Perpetua
Times Roman
MODERN:
Bell
Bodoni
Caledonia
Didot
Modern No. 20
Torino
Walbaum
EGYPTIAN, SLAB SERIF, or SQUARE SERIF:
Century
Clarendon
Lubalin Graph
Memphis
Rockwell
Serifa
SANS SERIF:
Akzidenz Grotesk
Grotesque
Gill Sans
Franklin Gothic
Frutiger
Futura
Helvetica
Meta
News Gothic
Optima
Syntax
Trade Gothic
Univers
for February 15th:
Spread using Grid:
Create a four page article on two double page spreads using the text and images provided by Designing with Type online here.
(We will not be using the Designing with Type online grid, rather we will be creating our own grids to be used for our pages. (One page grid will be used for all for pages.)
Each page is 8" x 8" and should be printed on a single 8.5x11 sheet.
Each double page spread should be posted in the glass cases outside the lab, one spread above the other by 8am February 15th. Include text type, display type, heads, subheads, captions, and folios.
Please refer to the following examples from Designing with Type online:
Creating Emphasis
Grids
Create a four page article on two double page spreads using the text and images provided by Designing with Type online here.
(We will not be using the Designing with Type online grid, rather we will be creating our own grids to be used for our pages. (One page grid will be used for all for pages.)
Each page is 8" x 8" and should be printed on a single 8.5x11 sheet.
Each double page spread should be posted in the glass cases outside the lab, one spread above the other by 8am February 15th. Include text type, display type, heads, subheads, captions, and folios.
Please refer to the following examples from Designing with Type online:
Creating Emphasis
Grids
Johannes Gutenberg (from Designing With Type online)
Johannes Gutenberg was born in Mainz, Germany, some time around 1397. Little is know about his early years, but it is clear that he was the right man, in the right place at the right time.
Gutenberg was the right man because of his familiarity with the craft of the goldsmith and the diemaker. He was in the right place because Mainz was a cultural and commercial center. It was the right time because the Renaissance thirst for knowledge was creating a growing market for books that could not be satisfied with the traditional handwritten manuscripts.
Handwritten manuscripts were made to order and were usually expensive. They were laboriously copied by scribes who had either to read from a manuscript or have it read to them while copying. This process was not only time-consuming, but led to many errors, which had corrected. Adding to the expense was the scarcity and high cost of vellum and parchment. As a result, handwritten manuscripts were limited to a select few: clergymen, scholars, and wealthy individuals.
A relatively inexpensive means of producing multiple copies of books seems to have been developed just a little before Gutenberg began his experiments with printing. This was the so called block book whose pages had illustrations and minimal text cut together on the same block. The carved blocks were inked, and images were transferred onto paper in multiples by rubbing or by the use of the screw press. Block books were believed to have been made for semiliterate, preaching friars who brought the word of God to the urban working class and the poor.
Insight and Innovation
Gutenberg’s genius was realizing that printing would be more efficient if, instead of using a single woodblock to print an entire page, the individual letters were cast as separate blocks and then assembled into pages. In this manner, pages could be made up faster, errors could be corrected more rapidly, and, after printing, the type could be cleaned and reused.
Using his knowledge of die making, Gutenberg created several pieces of type, not in wood but in metal. It was this process of printing from cast type and not the process of printing per se—which already existed—that was Gutenberg’s great contribution to the graphic arts. Technically speaking, Gutenberg’s invention, the letterpress, was so well conceived that it remained the dominant printing process for almost five hundred years.
With his chief assistant, Peter Schoeffer, and his financial backer, Johann Fust, Gutenberg was now ready to set up shop and embark on great masterpiece, the forty-two-line Bible, so called because its columns were forty-two lines long. It is a great irony that just before the publication of the forty-two-line Bible around 1455, Gutenberg seems to have lost control of his establishment for the nonpayment of his debt to Fust. The operation was then taken over by Fust and Schoeffer and unfortunately, there is no evidence as to whether Gutenberg oversaw the completion of the job or gained any financial rewards for his efforts.
After the judgement, it is believed that Gutenberg set up another shop and continued printing books and other materials for another ten years. In 1465, he received a generous pension from the local archbishop but died three years later. According to an early source, he was buried in the Franciscan church
at Mainz.
Continuing a Legacy
After Fust and Schoeffer took over Gutenberg’s shop, the first book they printed and published was the Mainz Psalter of 1457. This psalter was notable for a number of reasons: it was the first book with a colophon showing the printer’s name, location, date of publication, and printer’s mark or device. It was also the first book in which the display initials were printed in color rather than painted by hand. The partners printed a number of important books, two of which were the Latin Bible of 1462 and a Cicero of 1465.
While on a book-selling trip to Paris in 1466, Fust died of the plague. After Fust’s death, Schoeffer continued publishing until his own death in 1502.
Gutenberg was the right man because of his familiarity with the craft of the goldsmith and the diemaker. He was in the right place because Mainz was a cultural and commercial center. It was the right time because the Renaissance thirst for knowledge was creating a growing market for books that could not be satisfied with the traditional handwritten manuscripts.
Handwritten manuscripts were made to order and were usually expensive. They were laboriously copied by scribes who had either to read from a manuscript or have it read to them while copying. This process was not only time-consuming, but led to many errors, which had corrected. Adding to the expense was the scarcity and high cost of vellum and parchment. As a result, handwritten manuscripts were limited to a select few: clergymen, scholars, and wealthy individuals.
A relatively inexpensive means of producing multiple copies of books seems to have been developed just a little before Gutenberg began his experiments with printing. This was the so called block book whose pages had illustrations and minimal text cut together on the same block. The carved blocks were inked, and images were transferred onto paper in multiples by rubbing or by the use of the screw press. Block books were believed to have been made for semiliterate, preaching friars who brought the word of God to the urban working class and the poor.
Insight and Innovation
Gutenberg’s genius was realizing that printing would be more efficient if, instead of using a single woodblock to print an entire page, the individual letters were cast as separate blocks and then assembled into pages. In this manner, pages could be made up faster, errors could be corrected more rapidly, and, after printing, the type could be cleaned and reused.
Using his knowledge of die making, Gutenberg created several pieces of type, not in wood but in metal. It was this process of printing from cast type and not the process of printing per se—which already existed—that was Gutenberg’s great contribution to the graphic arts. Technically speaking, Gutenberg’s invention, the letterpress, was so well conceived that it remained the dominant printing process for almost five hundred years.
With his chief assistant, Peter Schoeffer, and his financial backer, Johann Fust, Gutenberg was now ready to set up shop and embark on great masterpiece, the forty-two-line Bible, so called because its columns were forty-two lines long. It is a great irony that just before the publication of the forty-two-line Bible around 1455, Gutenberg seems to have lost control of his establishment for the nonpayment of his debt to Fust. The operation was then taken over by Fust and Schoeffer and unfortunately, there is no evidence as to whether Gutenberg oversaw the completion of the job or gained any financial rewards for his efforts.
After the judgement, it is believed that Gutenberg set up another shop and continued printing books and other materials for another ten years. In 1465, he received a generous pension from the local archbishop but died three years later. According to an early source, he was buried in the Franciscan church
at Mainz.
Continuing a Legacy
After Fust and Schoeffer took over Gutenberg’s shop, the first book they printed and published was the Mainz Psalter of 1457. This psalter was notable for a number of reasons: it was the first book with a colophon showing the printer’s name, location, date of publication, and printer’s mark or device. It was also the first book in which the display initials were printed in color rather than painted by hand. The partners printed a number of important books, two of which were the Latin Bible of 1462 and a Cicero of 1465.
While on a book-selling trip to Paris in 1466, Fust died of the plague. After Fust’s death, Schoeffer continued publishing until his own death in 1502.
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